The  Revel  of  the  Goblins 


THE- DRAMATIC  PUBLISHING  • COMPANY 


ORADuev  oea 


UNIVERSITY  LIBRARY 

UNIVERSITY  OF  ILLINOIS  AT  URBANA-CHAMPAIGN 

The  person  charging  this  material  is  responsible  for  its 
renewal  or  return  to  the  library  on  or  before  the  due  date. 
The  minimum  fee  for  a lost  item  is  $1 25.00,  $300.00  for 
bound  journals. 

Theft,  mutilation,  and  underlining  of  books  are  reasons 
for  disciplinary  action  and  may  result  in  dismissal  from 
the  University.  Please  note:  self-stick  notes  may  result  in 
torn  pages  and  lift  some  inks. 

Renew  via  the  Telephone  Center  at  217-333-8400, 
846-262-1510  (toll-free)  orcirclib@uiuc.edu. 

Renew  online  by  choosing  the  My  Account  option  at: 

http://www.library.uiuc.edu/catalog/ 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 

University  of  Illinois  Urbana-Champaign  Alternates 


https://archive.org/details/revelofgoblinsfoOOhatc 


The  Revel  of  the  Goblins 

For  Hallowe'en  or  Any  Other  Time 


\ 


BY 

ADELAIDE  WESTCOTT  HATCH 


Copyright,  1510,  by  The  Dramatic  Publishing  Company 


CHICAGO 

THE  DRAMATIC  PUBLISHING  COMPANY 


\Jr 


THE  REVEL  OF  THE  GOBLINS. 

FOR  HALLOWE’EN  OK  ANY  OTHEK  TIME. 

By  Adelaide  Westcott  Hatch. 

This  drill  may  be  performed  by  any  number  of  young 
* people,  male  or  female ; 8 is  a good  number. 

Music.  Any  good  march,  and  “The  Bogie  Man,”  from 
“The  Yankee  Circus  on  Mars.” 

Abbreviations.  R.,  right;  L.,  left;  C.,  center. 


Costumes. 


Black  robes  made  full.  Each  goblin  carries  a small 
umbrella  covered  with  a full  cape  of  some  thin  material 
long  enough  to  hang  three  or  four  feet  below  the  outer 
edge  of  the  umbrella  so  as  to  completely  cover  the  hands 
and  arms.  At  the  top  of  the  umbrella  fasten  “Bogie-Man 
J ack-o-Lanterns”  to  represent  the  heads.  These  um- 
brellas are  carried  over  head  and  are  raised  or  lowered 
to  increase  or  decrease  the  height  of  th§  Goblins. 

Fig.  1.  ( Lights  very  low.)  Enter  at  R.  upper  en- 

ince  and  march  once  around  stage,  gradually  increas- 
ing in  height,  and  into  straight  line  across  back  of  stage. 
Make  a quick  Bob  Bow  to  audience.  ( Red  light  through- 
out.' See  Diagram  1.) 


3 


X X X X X X X X 


Diagram  1 . Front. 
3 


L 

E 

F 

T 


4 


THE  REVEL  OF  THE  GOBLINS 


Fig.  2.  Advance  to  front,  gradually  decreasing  to  nor- 
mal size.  Eetreat  to  back  of  stage,  gradually  increasing 
to  greatest  height.  ( Green  light  throughout.)  . 

Fig.  3.  Advance  to  front,  every  other  one  growing 
short,  alternate  ones  remaining  tall.  Eetreat,  the  tall  ones 
growing  short  and  the  short  ones  growing  tall.  ( Yellow 
light  throughout.) 

Fig.  4.  Advance  to  front  of  stage  by  couples,  the  two 
center  Goblins  forming  the  first  couple,  and  leading,  fol- 
lowed by  those  at  each  side  of  them,  who  move  up  to 
form  the  next  couple,  and  so  on.  As  they  advance,  the 
tall  ones  grow  short  and  the  short  ones  grow  tall.  Wag 
heads  from  side  to  side  in  time  to  the  music.  At  front 
separate  E.  and  L.,  forming  into  a straight  line  across 
front  of  stage,  without  changing  size  (See  Diagram  2). 
Make  a low  bow.  Eetreat  to  back  of  stage,  all  growing 
normal  size.  (Green  light  throughout.) 


Fig.  5.  Turn  E.  and  L.  and  march  down  sides  of 
stage,  normal  size.  Face  C.,  advance  increasing  in  height, 
reaching  their  greatest  height  as  they  meet  at  C.  Eetreat 
to  sides,  decreasing  to  normal  size.  (Yellow  hght 
throughout.) 

Ftg.  6.  Those  on  E.  side  increase  to  greatest  height, 
those  on  L.  remaining  normal.  Advance  to  C.,  pause  when 
they  meet,  short  ones  nod  and  begin  to  grow  tall,  tall  ones 


THE  REVEL  OF  THE  GOBLINS 


5 


growing  short.  Retreat  to  position.  ( Red  light  through- 
out.) 

Fig.  7.  Those  at  R.  march  up  stage  and  across  back, 
those  at  L.  down  stage  and  across  front,  retaining  size. 
Line  at  front  retreats  to  back  of  stage,  increasing  to 
greatest  height,  those  at  back  advance  to  front,  decreas- 
ing to  normal  size,  lines  passing  through  each  other  at  C. 
Reverse  the  movement,  those  at  front  retreating  to  back, 
increasing  in  size,  those  at  back  advancing  to  front,  de- 
creasing in  height.  ( Red  light  throughout.) 

Fig.  8.  Goblins  in  front  line  turn,  facing  back  of  stage, 
at  the  same  time  turning  the  umbrellas  until  the  faces 
on  the  lanterns  are  turned  toward  audience.  Nod  to 
audience  and  march  to  back,  increasing  in  size,  back  line 
marching  to  front  of  stage,  decreasing  in  size,  lines  pass- 
ing through  each  other  at  C.  Repeat  the  movement. 
( Red  light  throughout.) 


R 

! 

Q 

H 

T 


X 

X 

X 

X 


X X X X 


X 

X 

X 

X 


Diagram  3.  Front. 


L 

E 

F 

T 


Fig.  9.  Back  line  faces  R.,  turning  umbrellas  back  to 
place,  and  marches  down  R.  side  of  stage.  Front  line  faces 
L.  and  marches  up  L.  side  of  stage,  retaining  size  ( See 
Diagram  3).  Face  C.  Lines  advance,  R.  line  decreas- 
ing in  height,  left  line  increasing.  Retreat  to  sides,  R. 
line  increasing,  L.  line  decreasing.  Advance  again,  R. 
line  decreasing  to  normal  size,  L.  remaining  normal,  meet 
at  C.  and  face  audience  by  couples.  ( Green  light 
throughout.) 


u,  OF  ILL  LIB. 


6 


THE  REVEL  OF  THE  GOBLINS 


Fig.  10.  Advance  to  front  by  couples,  partners  nod-  • 
ding  to  each  other  in  time  to  the  music,  at  the  same  time 
increasing  to  greatest  height.  Turn  B.  and  L.  and  form 
line  across  front  of  stage.  ( Green  light.) 


Fig.  11.  K.  half  of  line  wheels  backwards  to  E.  of 
stage,  L.  half  to  L.  of  stage,  all  retaining  size,  those  at 
the  end  of  the  line  acting  as  pivots.  ( See  Diagram  Jf). 
Advance  to  C.  and  pass  through.  As  they  pass  at  C., 
all  begin  to  decrease  in  size.  On  reaching  sides  of  stage 
all  face  C.  again  and  pass  to  opposite  sides,  increasing 
in  height  as  lines  pass  each  other. 

Fig.  12.  March  up  stage  in  single  file,  across  back, 
forming  into  two  lines  across  back  of  stage,  decreasing  to 
normal  size.  Advance,  front  line  retaining  normal  size, 
back  line  increasing  in  height.  Betreat,  back  line  decreas- 
ing and  front  line  increasing.  On  reaching  back  of  stage 
all  form  into  a half  circle,  normal  size.  ( See  Diagram  5.) 

Fig.  13.  One  comes  forward  to  footlights  (See  Dia- 
gram 5 ),  gradually  growing  very  fall,  and  sings  Solo,  all 
singing  the  Chorus. 

Song:  “The  Bogie  Man.”  By  Jean  Schwartz.  (From 
“A  Yankee  Circus  on  Mars.”) 

The  Goblins  advance  as  they  sing  the  chorus,  increasing 
to  greatest  height,  and  retreat  while  the  interlude  is  being 
played,  decreasing  in  size.  (Red  Light.) 


THE  BEVEL  OF  THE  GOBLINS 


7 


Fig.  14.  March  once  around  stage  in  a large  circle, 
single  file,  gradually  increasing  in  height.  March  around 
once,  decreasing  in  size,  at  the  same  time  slowly  turning 
umbrella  around  so  that  face  will  be  at  back.  This  gives 
the  appearance  of  marching  around  backwards.  Turn,  and 
march  once  in  opposite  direction,  every  other  one  growing 
tall  and  the  others  remaining  normal  size,  at  the  same  time 
slowly  turning  umbrellas  around  so  that  the  face  will  be 
at  the  front.  Exit  B.  upper  entrance,  gradually  increas- 
ing the  speed,  marching  faster  and  faster  throughout  the 
figure  so  that  when  they  leave  the  stage  they  will  be  run- 
ning. ( Green  Light.) 

Note. — The  “Bogie  Man”  Jack-o-Lanterns  suggested  in 
the  drill  for  use  as  heads  on  the  umbrellas  are  of  steel  con- 
struction so  that  there  is  no  danger  of  fire. 


Santiago 

OR 

For  the  Red,  White  and  Blue 

A Wat  Drama  La  Four  Acts 

By  JOHN  A.  FRASER 
Price,  25  cents 
CHARACTERS 

Capt.  Oscar  Hutton,  TJ.  S.  A.  In  lovo  with  Cora.  .Leading  Juvenile 


Lieut.  Fisk,  U.  S.  A.  In  love  with  his  duty Juvenile  bit 

Milton  Merry,  U.  S.  N.  In  love  with  Bess Light  Comedy 

Lieut.  Cristobal,  S.  A.  In  love  with  soldiering Straight 


Dr.  Harrison,  Red  Cross  H.  S.  In  love  with  surgery 

Straight  old  man 

Elmer  Walton,  banker.  In  love  with  Spanish  bonds 

Character  old  man 

Phillip  Basset,  his  stepson.  In  love  with  Ysobel Juvenile 

Fernando  Diaz,  Walton’s  cashier,  afterwards  S.  A.  In  love  with 

Cora  Heavy 

Beverly  Brown,  Walton’s  butler,  afterwards  Red  Cross  H.  S.  In 

love  with  chickens Negro  Comedy 

Cornelius  Dwyer,  Walton’s  coachman,  afterwards  U.  S.  A.  In 

love  with  “Naygurs” Irish  Comedy 

Antonio  Carlos,  a Cuban  planter.  In  love  with  Spain 

Character  old  man 

Cora  Basset,  Walton’s  stepdaughter.  In  love  with  Oscar.  .Juvenile 

Bess  Walton,  Walton’s  daughter.  In  love  with  Milton Ingenue 

Ysobel  Carlos,  Antonio’s  daughter.  In  love  with  Phillip. ..  .Juvenile 
American  Soldiers,  American  Sailors,  Spanish  Soldiers,  Guerillas. 

Actual  time  of  playing,  two  hours. 

SYNOPSIS 

ACT  I.  The  ball  at  Walton’s,  Washington,  D.  C.  Handsome  in- 
terior. 

ACT  II.  The  Red  Cross  Hospital.  First  day’s  battle  of  Santiago. 
Exterior. 

ACT  III.  Scene  1. — Interior  Guerilla  headquarters  in  the  Sierra 
Cobra,  near  Santiago.  Scene  2. — Exterior.  The  underbrush  of  Si- 
erra Cobra.  Scene  3. — Fight  in  the  mountain  pass,  second  day’s 
battle  of  Santiago.  Exterior. 

ACT  IV.  Hotel  Tacon,  Santiago,  on  the  night  of  the  surrender. 
Interior. 

NOTE. — Walton,  Dr.  Harrison  and  Carlos  may  double  easily,  and 
the  piece  played  with  nine  males,  three  females. 

The  best  Cuban  war  play  ever  written.  Easy  to  produce,  but 
very  effective.  Thrilling  situations,  fine  comedy,  intense  climaxes. 
Comic  Irishman  and  Negro.  Three  magnificent  female  parts.  Pic- 
turesque Spanish  villain  and  heroic  juvenile  lead.  No  special  scen- 
ery is  required,  as  every  regular  theatre,  in  its  ordinary  equip- 
ment, has  every  set  called  for.  Adapted  to  both  professional  and 
amateur  companies. 

Address  Orders  to 

THE  DRAMATIC  PUBLISHING  COMPANY 

CHICAGO.  ILLINOIS 


Hageman's  Make-Up  Book 

By  MAURICE  HAGEMAN 
Price,  25  cents 

The  importance  of  an  effective  make-up  is  becoming’  more  appar- 
ent to  the  professional  actor  every  year,  but  hitherto  there  has  been 
no  book  on  the  subject  describing  the  modern  methods  and  at  the 
same  time  covering  all  branches  of  the  art.  This  want  has  now 
been  filled.  Mr.  Hageman  has  had  an  experience  of  twenty  years 
as  actor  and  stage- manager,  and  his  well-known  literary  ability  has 
enabled  him  to  put  the  knowledge  so  gained  into  shape  to  be  of 
use  to  others.  The  book  is  an  encyclopedia  of  the  art  of  making  up. 
Every  branch  of  the  subject  is  exhaustively  treated,  and  few  ques- 
tions can  be  asked  by  professional  or  amateur  that  cannot  be  an- 
swered by  this  admirable  hand-book.  It  is  not  only  the  best  make- 
up book  ever  published,  but  it  is  not  likely  to  be  superseded  by 
any  other.  It  is  absolutely  indispensable  to  every  ambitious  actor. 

CONTENTS 

Chapter  I.  General  Remarks. 

Chapter  II.  Grease-Paints,  their  origin,  components  and  use. 

Chapter  III.  The  Make-up  Box.  Grease-Paints,  Mirrors,  Face 
Powder  and  Puff,  Exora  Cream,  Rouge,  Liquid  Color,  Grenadine, 
Blue  for  the  Eyelids,  Brilliantine  for  the  Hair,  Nose  Putty,  Wig 
Paste,  Mascaro,  Crape  Hair,  Spirit  Gum,  Scissors,  Artists’  Stomps, 
Cold  Cream,  Cocoa  Butter,  Recipes  for  Cold  Cream. 

Chapter  IV.  Preliminaries  before  Making  up;  the  Straight  Make- 
up and  how  to  remove  it. 

Chapter  V.  Remarks  to  Ladies.  Liquid  Creams,  Rouge,  Lips, 
Eyebrows,  Eyelashes,  Character  Roles,  Jewelry,  Removing  Make-up. 

Chapter  VL  Juveniles.  Straight  Juvenile  Make-up,  Society 
Men,  Young  Men  in  111  Health,  with  Red  Wigs,  Rococo  Make-up, 
Hands,  Wrists,  Cheeks,  etc. 

Chapter  VII.  Adults,  Middle  Aged  and  Old  Men.  Ordinary  Type 
of  Manhood,  Lining  Colors,  Wrinkles,  Rouge,  Sickly  and  Healthy 
Old  Age,  Ruddy  Complexions. 

Chapter  VIII.  Comedy  and  Character  Make-ups.  Comedy  Ef- 
fects, Wigs,  Beards,  Eyebrows,  Noses,  Lips,  Pallor  of  Death. 

Chapter  IX.  The  Human  Features.  The  Mouth  and  Lips,  the 
Eyes  and  Eyelids,  the  Nose,  the  Chin,  the  Ear,  the  Teeth. 

Chapter  X.  Other  Exposed  Parts  of  the  Human  Anatomy. 

Chapter  XI.  Wigs,  Bearcfs,  Moustaches,  and  Eyebrows.  Choosing 
a Wig,  Powdering  the  Hair,  Dimensions  for  Wigs,  Wig  Bands,  Bald 
Wigs,  Ladies’  Wigs,  Beards  on  Wire,  on  Gauze,  Crape  Hair,  Wool, 
Beards  for  Tramps,  Moustaches,  Eyebrows. 

Chapter  XII.  Distinctive  and  Traditional  Characteristics.  North 
American  Indians,  New  England  Farmers,  Hoosiers,  Southerners, 
Politicians,  Cowboys,  Minors,  Quakers,  Tramps,  Creoles,  Mulattoes, 
Quadroons,  Octoroons,  Negroes,  Soldiers  during  War,  Soldiers  dur- 
ing Peace,  Scouts,  Pathfinders,  Puritans,  Early  Dutch  Settlers, 
Englishmen,  Scotchmen,  Irishmen,  Frenchmen,  Italians,  Spaniards, 
Portuguese,  South  Americans,  Scandinavians,  Germans,  Plollanders. 
Hungarians,  Gipsies,  Russians,  Turks,  Arabs,  Moors,  Caffirs,  Abys- 
sinians,  Hindoos,  Malays,  Chinese,  Japanese,  Clowns  and  Statuary, 
Hebrews,  Drunkards,  Lunatics,  Idiots,  Misers,  Rogues. 

Address  Orders  to 

THE  DRAMATIC  PUBLISHING  COMPANY 

CHICAGO,  ILLINOIS 


PLAYS 

And  Entertainment  Books. 

jfflEING  the  largest  theatrical  booksellers  in 
W*  the  United  States,  we  keep  in  stock  the  most 
complete  and  best  assorted  lines  of  plays  and  en* 
tertainment  books  to  be  found  anywhere. 

We  can  supply  any  play  or  book  pub- 
lished. We  have  issued  a catalogue  of  the  best 
plays  and  entertainment  books  published  in 
America  and  England.  It  contains  a full 
description  of  each  play,  giving  number  of  char- 
acters, time  of  playing,  scenery,  costumes,  etc. 
This  catalogue  will  be  sent  free  on  application. 

The  plays  described  are  suitable  for  ama- 
teurs and  professionals,  and  nearly  all  of  them 
may  be  played  free  of  royalty.  Persons  inter- 
ested in  dramatic  books  should  examine  our  cat- 
alogue before  ordering  elsewhere. 

We  also  carry  a full  line  of  grease  paints, 
face  powders,  hair  goods,  and  other  <5mie^.e-up,! 
materials. 


The  Dramatic  Publishing  Company 
CHICAGO 


\ 


UNIVERSITY  OF  ILLINOIS-URBANA 


